About

My focus lies primarily in the discrepancies between the event and the non-event. Photography as a medium cannot leave anything out, nor add anything, to a scene. In the (social) media, we have grown to be suspicious of photography, because in the end, its content turns out to be designed. In my photo sequences, I don’t stage and design the scene, but instead capture anything that may or may not happen, resulting in sequences that sometimes show an event, sometimes it shows ‘nothing’. When ‘nothing’ happens, the empty space becomes a negative of itself; it becomes an object, a motif. That, for me, constitutes the non-event.

It may show the boredom of everyday life, the routines that program us, and by extension, city life itself. It shows social interactions, also the ones that aren’t technically social at all, such as trying to avoid (eye) contact on the street or passing someone without even noticing that person. These social politics of the city’s infrastructure are brought to life in the photo sequences; with me as the harbinger.

My physical proximity to the moment, to the object, to the frame of time and space, in a way obstructs the usual passing of time. Instead of being unwitnessed and forgotten, the moment gets to be relived through another vessel. One that everyone can witness, but none can experience. No one will ever be part of the original moment as I was, while simultaneously one cannot truly experience the parallel of that moment either. A private encounter becomes publicly available, while it stays private in nature. That, by default, is a contradictio in terminis, a catch-22. It negates its own definition.